78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

* Gillray (James). John Bull bother'd or The geese alarming the Capitol, London: H. Humphreys, December 19th, 1792, etching on wove paper with contemporary hand colouring, trimmed to platemark, pinhole to left margin not affecting printed area, 310 x 390 mm QTY: (1)NOTE:BM Satires 8141.'With the French Revolution at full tilt and a rebellion brewing in Ireland, the Prime Minister, William Pitt, called up the militia. The leader of the opposition, Charles James Fox, accused Pitt of stoking fear to confuse and oppress the people', Peter Levine, Gillray and Blake, 2023.

* Cruikshank (Isaac). The Russian Bruiser getting his dose with his seconds thirds bottle holder &c coming in for their share, published by S. W. Fores, January 30th 1801, etched caricature with contemporary hand-colouring, trimmed to the plate mark, some adhesion scaring to the verso, 240 x 350 mm, mounted, together with Williams (Charles). Boney Bothered or an Unexpected Meeting, published by Thomas Tegg, July 9th 1808, etched caricature with contemporary hand-colouring, toned overall, horizontal central fold, 330 x 250 mm, mounted, framed and glazed, together with Heath (William). Blowing up the Fire, published by Thos. McLean, October 8th, 1830, etched caricature with contemporary hand-colouring, 260 x 375 mm, mounted, framed and glazed, plus Rowlandson (Thomas). None but the Brave Deserve the Fair, 1819, etching with contemporary hand-colouring, trimmed to image, dust-soiled and a little stained, 300 x 225 mm, framed and glazedQTY: (4)

* Dighton (Richard). Eight caricatures: A Lawyer and his Client, A Lawyer and his Agent, A Master Parson and his Journeyman, A View from the Swan Brewhouse Oxford, The Classical Almamater Coachman Oxford, A View taken from the Town Hall Oxford (2 copies) and an untitled caricature portrait of Dr.William Parsons, 1793-1812, eight etchings with contemporary wash colouring, one duplicate, various sizes and condition, together with Bretherton (J.). The Fish Street Macaroni, London: March 29th 1772, uncoloured etching after H. Bunbury, trimmed to the plate mark and laid on a later album sheet with two topographical views of Perth on the verso, sheet size 265 x 175 mm, with two watercolours of a fashionable lady and gentlemen, both dated 1819, each approximately 185 x 125 mm, plus Hogg (Alex, publisher). Mr John Walker, Bookseller & Auctioneer, April 1st 1806, uncoloured portrait, slight spotting, laid on later paper and tipped onto later thin paper, 185 x 115 mm, and Kay (John). Untitled portrait of W. Cake & T. Guthrie, Booksellers, circa 1840, uncoloured etching, tipped onto later paper, 170 x 115 mmQTY: (13)

* Gillray (James). Smelling out a Rat; -or- The Atheistical-Revolutionist disturbed in his Midnight "Calculations", London: H. Humphreys, December 3rd, 1790, uncoloured etching on wove paper, paper residue and purple ink library stamp to verso, 250 x 350 mm, together with:Un Petit Souper, a la Parisienne; -or- A Family of Sans-Culotts refreshing, after the fatigues of the day, London: H. Humphreys, September 20th, 1792, etching on wove paper with contemporary hand colouring, slightly toned, 250 x 350 mm QTY: (2)NOTE:BM Satires 7686 & 8122 respectively.

* Gillray (James). Meeting of the Monied Interest..., published H. Humphrey, December 13th 1798, etching with aquatint, contemporary hand-colouring, upper margin strengthened on verso, 260 x 375 mmQTY: (1)NOTE:BM Satires 9282.

* Gillray (James). The Worn-out Patriot, London: H. Humphreys, October 13th, 1800, etching on wove paper with contemporary hand colouring, closed tear to platemark to lower margin, 360 x 260 mm, some glue and paper residue to verso, together with a 'London und Paris' edition of the same, contemporary hand colouring, 230 x 180 mm, old folds strengthened to verso QTY: (2)NOTE:BM Satires 9548.A weak and enfeebled James Fox, whose swollen legs no longer enable him to stand unaided, is helped to his feet by Thomas Erskine and Harvey Combe. He addresses his followers in the manner of a dying man whose political race is run. Gillray and Fox were both somewhat premature in this depiction of a man giving his own eulogy as Fox was to live for another six years.

* Gillray (James). Judge Thumb, or- Patent Sticks for Family Correction: Warranted Lawful!, London: W. Humphreys, November 27th, 1782, uncoloured etching on wove paper, repaired closed tear to title, top margin narrow, old tape residue to verso, laid on later paper, 330 x 230 mm, together with:Grace Before Meat or a Peep at Lord Peter's, London: W. Humphrey, [1778], uncoloured etching on wove paper, paper residue to verso, 250 x 360 mm,Amsterdam in a Dam'd Predicament_or_The Last Scene of the Republican Pantomine, London: S. W. Fores November 1st, 1787, uncoloured etching on wove paper, trimmed to printed area, 330 x 440 mmThe Impeachment, -or- "The Father of the Gang, turned King's Evidence, London: S. W. Fores, May 1791, uncoloured etching on wove paper, closed tears and areas of loss with repair to edges of printed area, 320 x 390 mm QTY: (4)NOTE:BM Satires 6123; 5489; 7181 & 7861 respectively. Gillray mocks Judge Francis Buller for ruling that a man could legally beat his wife, as long as he used a stick that was no thicker than his thumb.

* Gillray (James). Doublures of Characters; - or - Striking Resemblances in Phisiognomy. "If you would know Men's Hearts, look in their Faces", London: J. Wright for the Anti Jacobin Review, November 1st 1798, uncoloured etched caricature, light areas of dust-soiling, old folds, 260 x 360 mm, together with: Gillray (James). Pen-Etration..., London: H. Humphreys, August 6th, 1799, etching on wove paper with contemporary hand colouring, small area of mount tape at top margin on verso, 260 x 200 mmGillray (James). Half Natural, London: H. Humphreys, August 1st, 1799, etching on wove paper with contemporary hand colouring, some mount burning, tipped onto card, 250 x 190 mm, together with 4 other portraits by Gillray, various sizes and condition QTY: (7)NOTE:BM Satires 9261 for the first work.'In 1798 the Anti-Jacobean Review published the explicit Doublures of Characters; - or - striking Resemblances in Physiognomy. This print played on the recent success of the English translation of J. K. Lavater's Essay on Physiognomy which offered rules interpreting facial features. Gillray ironically unveiled the 'true' faces of the opposition party by linking their caricatures to their various weaknesses for drink, gambling or debt' Gillray Caricatures: The Genesis of Caricature, The National Portrait Gallery.

* Gillray (James). L'Infanterie Francaise en Egypte - Le General L'Asne converted to Ibrahim Bey, published H.Humphrey March 12th 1799, etching on wove with contemporary hand-colouring, trimmed to the neat line, small areas of adhesion scarring to the verso, 255 x 355 mmQTY: (1)NOTE:BM Satires 9357.

* Gillray (James). The Loss of the Faro-Bank; or The Rook's Pigeon'd. "When Greek meets Greek then comes the tug of War!" published by H. Humphrey, February 2nd 1797, etching with contemporary hand-colouring, thread margins, some old adhesion scarring to verso, 250 x 355 mmQTY: (1)NOTE:BM Satires 9078.One of four satirical prints produced by Gillray on the subject of illegal gambling, facilitated by 'ladies of fashion'. On this occasion, the somewhat portly Lady Buckinghamshire is made aware that her 'bank' of £500 has been stolen. Several commentators suggested that Lady Buckingham herself was responsible for the disappearance of the money, and a subsequent trial for illegal gambling further sated the public's salacious appetites. Gillray - never one to miss an opportunity to satirise Whig politicians - includes Fox and Sheridan among the gamblers around the table. Gillray's satire is completed by the caption to the print derived from the play The Rivals Queens (1677) by Nathaniel Lee: ' When Greek meet Greek, then comes the tug of war'; emphasising the point that all the participants were thieves and cheats and all of them were guilty.

* Gillray (James). The Fall of the Wolsey of the Woolsack, London: H. Humphreys, May 24th 1792, etching on wove paper with contemporary hand colouring, paper residue on verso, 250 x 350 mm, together with:The Coward, comforted; -or-A Scene immediately after the Duel, London: J. Aitken, May 29th 1789, etching on wove paper with contemporary hand colouring, paper residue to top margin and on verso, 250 x 350 mm, plusCooling the Brain. or - The Little Major, shaving the Shaver, London: J. Aitken, May 8th 1789, etching on wove paper with contemporary hand colouring, small repaired hole to printed area, 250 x 350 mm, andBrunswick, Triumphant! or-The Battle of the Blood's,-pure, & contaminated, London: J. Aitken, May 23rd 1789, etching on wove paper with contemporary hand colouring, light dust-soiling, some closed repaired tears, trimmed to platemark, 250 x 350 mm QTY: (4)NOTE:BM Satires 8096; 7535; 7529 & 7531 respectively.

* Gillray (James). The Liberty of the Subject, published by H. Humphrey, Oct. 15th 1779, hand-coloured etching on laid, very slight toning, some adhesion scarring to the verso, 250 x 350 mmQTY: (1)NOTE:BM Satires 5609.Burly sailors armed with clubs and cudgels have seized and 'press-ganged' a terrified tailor and are dragging him away to serve in the Royal Navy in the American War of Independence. The tailor's enraged wife has grabbed one of the sailors by the ear and is kneeing him in the bottom, whilst another belays the press gang with a mop. A nervous officer has drawn his cutlass, anticipating further unrest from the crowd.

* Gillray (James). The Minister endeavouring to eke out Dr Pr*ty***n's Bisho-prick, Southwark: R. Phillips, March 1787, uncoloured etching on wove paper, small area of surface abrasion to lower right under platemark, wide margins, mounted, 330 x 250 mm QTY: (1)NOTE:BM Satires 7146.William Pitt holds up the dome of St. Paul's and places it over the central tower of Lincoln Cathedral. The caption relates to Dr George Pretyman who was 'a close friend of William Pitt..., his appointment as Bishop of Lincoln at the age of 37 was thus seen as blatant favouritism by the Prime Minister' Richard Godfrey, James Gillray: The Art of Caricature, p. 70.

* Gillray (James). End of the Irish Invasion; -or- The Destruction of the French Armada, London: H. Humphreys, January 20th, 1797, etching on wove with contemporary hand colouring, trimmed to printed area, 270 x 370 mm, together with another example, uncoloured etching on wove, closed tear into printed area to top margin, narrow margins, paper weakening to verso with small areas of loss to printed area, 270 x 380 mm QTY: (2)NOTE:BM Satires 8979.

A pencil drawing of a Dock Scene and Bridge 26cm x 33cm and an etching of a Clock Tower. 52cm x 39cm. Framed, glazed and signed. Sizes include frames.(2)

WILFRED CRAWFORD APPLEBY (SCOTTISH 1889-1954)  GLASGOW UNIVERSITY GATEWAY  Etching, signed lower right, 31 x 16cm  Label attached verso Condition Report:Available upon request

GEORGE VERNON STOKES (ENGLISH 1873-1954)  SIAMESE CATS  Etching, signed lower right, 26 x 30cm  Together with 2 similar by the same hand (3) Condition Report:Available upon request

A COLLECTION OF ARTWORKS  To include 2 signed coloured etching by Louis Icart, oils and a watercolour (7) Condition Report:Available upon request

JOHN JOHNSTONE (SCOTTISH b.1941)  CRAIL MEMORIES  Etching in colours, signed lower right, numbered 20/120, 54 x 60cm   Condition Report:Available upon request

FRANCIS SEYMOUR HADEN (ENLGISH 1818-1910)  HARRY KELLY'S, PUTNEY  Etching, signed lower right, 14 x 19cm  Title inscribed to label verso   Together with another by Henry Stewart Brown and a print (3)   Condition Report:Available upon request

ROBERT CRAIG-WALLACE (SCOTTISH 1886-1969)  BATHERS  Etching, signed lower right, 42 x 31cm   Condition Report:Available upon request

JAMES MCBAY (SCOTTISH 1883-1959)  FISHERMAN'S VILLAGE  Etching, signed lower right, 12 x 24cm   Condition Report:Available upon request

20th Century British School, watercolour, Reigate Park, signed Pyne to the lower left, framed, mounted and under glass, 56cm x 68cm overall, another watercolour and a framed etching of George Street in Newcastle Upon Tyne

After Pierre Auguste Renoir (French circa 1900), 'Seated Nude Study', uncoloured re-strike etching, with certificate of authenticity. 18x14cm approx. Framed and glazed. (B.P. 21% + VAT)

A pre Third Reich era, likely late 19th or early 20th century German M1849 Lion’s head sabre. Using the so called ‘half lion head’ or ‘jawless’ lion’s head to the pommel, fish skin grip, P shaped knuckle guard, and the crossed swords motif to the langet on one side, with a plain shield to the other. Single edged slightly curved blade, with flat spine and long fuller. Etching to both sides of the blade, foliate patterns, crossed swords, and the Imperial Eagle. No apparent makers marks, and if there are, they are hidden by the positioning of the langets, and a small amount of corrosion to the ricasso area under the langets. Complete with a black painted steel scabbard, with single suspension ring, and its original leather and bullion sword knot. Overall length in scabbard 95.8cm, blade length approximately 80.5cm. Condition: some age and service wear. The hilt and grip has ingrained old polish in may places, and the wire binding to the fish skin grip only partially remains (3 strands). The blade is in fairly clean and bright condition, with only minor dulling and mottling in places. The scabbard has the often seen paint loss to the surface, which reveals the russet coloured steel below.

Edward Sharland (1884-1967). Cathedral of Notre-Dame de Reims, etching, 59cm x 38cm.

Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Unique or "unik" Art Deco ceramic vase depicting a pastoral hunting scene, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined using a Sgraffito etching technique. Stamped along the underside "Flambe Rorstrand" and "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: Olson," and "Unik"; numbered 6947.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 10 1/2 in x diameter: 7 1/2 in.Condition: There are no major cracks, losses, or restorations. Fleabite chip along the interior of rim. Light wear to the footrim.

Philip LaVerne (Amercan, 1907-1987) and Kelvin LaVerne (American, b. 1937). Acid-etched patinated bronze, enamel, and pewter model "#142" coffee or cocktail table from the LaVerne's iconic "Chan" series, ca. 1960. The central tabletop image depicts a lively Chan dynasty era village scene. Peasants mill around the landscape carrying sacred gifts, possibly for an Emperor’s child, evoking themes of reverence and celebration. The harmonious blend of delicately wrought foliage and figures, enhanced by a rich palette of multicolored patinas, embody the essence of Chinoiserie design. Incised signatures along the lower right of the tabletop; "Philip LaVerne Galleries Ltd." label along the underside of the tabletop.Lot Essay:Philip and Kelvin LaVerne, a father-and-son duo from New York, emerged as pivotal figures in mid-20th century American design, renowned for their transformative approach to furniture and decorative arts. Philip LaVerne, initially a skilled craftsman, began his career in the early 1940s, creating bespoke pieces that combined traditional techniques with modern sensibilities. His collaboration with his son Kelvin, who brought fresh perspectives and innovative techniques, marked a significant evolution in their design philosophy. Together, they pioneered the use of complex metal alloys and intricate etching processes, crafting furniture that was both functional and highly artistic. Their work, characterized by its rich textures and dynamic patterns, drew inspiration from a range of influences including classical art, Asian aesthetics, and abstract modernism.The "Chan" Series, Model #142 coffee table featured in this lot, a prime example of the LaVerne's legendary craftsmanship, reflects their dedication to integrating art with utility. The table's design embodies their signature style, featuring hand-etched bronze with elaborate patterns that evoke both elegance and intrigue. This piece not only highlights their technical skill but also their ability to imbue everyday objects with a sense of artistry and cultural depth. The work of the LaVerne's remains a testament to their innovative spirit and enduring influence in the world of decorative arts, bridging the gap between high art and functional design.Height: 17 in x diameter: 47 1/4 in.Condition: There are no major splits, cracks, or losses to the wood or the inlay. Some light scratches along the surface of the table. Some patination throughout, possibly original to the artistic process. Marker inscription along the top surface of the table base, only visible when the tabletop is lifted off of the base.

Signature of 18th President Ulysses S. Grant framed with an etching portrait of the President. The etching with "B.W. Smith N.Y." in print below bust. The ink signature on a sheet of paper with the heading "Head-Quarters Armies of the United States...186."(Signature, sight) height: 2 in x width: 4 in. (Etching, sight) height: 4 in x width: 3 1/2 in. (Framed) height: 9 1/2 in x width: 6 1/4 in x depth: 1/2 in.Condition: Thee are no visible tears, creases, losses, or repairs. Both sheets are housed under an acidic mat. Mat burn and toning to both. Framed under glass; light wear to the frame. Not inspected out of frame.

Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Unique Art Deco ceramic urn vase vessel, ca. 1930s. Decorated by Dahl in the tradition of the "Three Graces", this "unik" image depicts three neoclassical female musicians against a mottled beige ground. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by using a Sgraffito etching technique. Stamped along the underside "Flambe" with "Modell" and "Nylund" on either side of an "ALP" Rorstrand mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: O. Dahl," and "Unik"; numbered 2017.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 1/2 in x width: 10 in x depth: 6 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Four felt tabs affixed to the underside.

Gunnar Nylund (Swedish, 1904-1997) and Oskar Dahl (Swedish, 1902-1966) for Rorstrand, Sweden. Unique or "unik" Art Deco ceramic urn vase vessel depicting a neoclassical archer presenting a goose, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes, including copper-rich blue, and details defined by using a Sgraffito etching technique. Stamped along the underside "Flambe Rorstrand" with "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: O. Dahl," and "Unik"; numbered 7470.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 1/2 in x width: 10 in x depth: 6 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.

Gunnar Nylund (Swedish, 1904-1997) and Oskar Dahl (Swedish, 1902-1966) for Rorstrand, Sweden. Art Deco ceramic urn or lidded vase depicting a galleon ship amid tumultuous waters, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by Dahl using a Sgraffito etching technique. With applied double-loop handles on either side of the vessel surmounted by a lid with a star and scrollwork form finial. Stamped along the underside "Flambe Rorstrand" with "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden" and "Dekor: Dahl." The underside of the lid is similarly marked.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 in x width: 10 in x depth: 5 1/2 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Light wear where the lid joins the body.

Gunnar Nylund (Swedish, 1904-1997) and Oskar Dahl (Swedish, 1902-1966) for Rorstrand, Sweden. Large and unique or "unik" Art Deco ceramic bowl depicting a nude dancing female figure amid foliage, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by Dahl using a Sgrafitto etching technique. Stamped along the underside "II Flambe Rorstrand" with "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden" and "Dekor: Dahl"; numbered 3830.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 2 1/2 in x diameter: 10 in.Condition: There are no chips, losses, or restorations. There is a firing flaw along the underside of the vessel's rim. Light wear to the footrim.

Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Unique or "unik" Art Deco ceramic plate or charger depicting an exotic feminine figure, possibly a princess, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by using a Sgrafitto etching technique. Stamped along the underside "Flambe" above "Modell" and "Nylund" on either side of an "ALP" Rorstrand mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: Weinberg," and "Unik"; numbered 1654.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 1 3/4 in x diameter: 12 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.

Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Art Deco ceramic urn or lidded vessel depicting a reclining nude woman with billowing lengths of fabric draped across her body along one side and the same woman kneeling amid foliage along the other side, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style with several glazes, including copper-rich blue, and details defined by using a Sgraffito etching technique. With applied double-loop handles on either side of the vessel surmounted by scalloped shell-form finial. Stamped along the underside "Flambe" with "Modell" and "Nylund" on either side of an "ALP" Rorstrand mark. Below this, the stamp continues "Sverige" and "Dekor: Olson"; numbered 46. The underside of the lid is similarly stamped.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 1/4 in x width: 10 in x depth: 5 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Light wear where the lid joins with the body.

KOMRIJ, G. Het schip De Wanhoop. Gedichten 1964-79. Amst., Arbeiderspers, (1979). 148 pp. W. or. aquatint etching by Ch. Hofman, signed & numb. in pencil. Ohcf. In ocl. slipcase. NOTE: Printed on "Ossekop Antiek Druk" in a limited & numb. edition of 70 copies, signed in the colophon by the author & the artist. Our copy nr. 32.

LOW COUNTRIES -- "AMERS-FORT" (Amersfoort). (Antwerp, C. Bouttats, 1674). Etching by Bouttats after Joh. Peeters, cold. by hand. 145 x 240 mm. Framed, glazed and under passepartout. -- Added: "HET DORP ACKOY". N.d. Etching by H. Schouten (1762-1822). 141 x 185 mm. Framed, glazed and under passepartout. -- (2).

DEVOTIONALIA -- "DESE SPRUIJT WAST IN INDIE IN CUSCO en[de] wert aldaer genoemt de Passie ons Heeren, Ende is een wonder voor onsen ogen. Psal(m?)". 17th c. (?). Anonymous tinted etching of the passion flower printed on vellum, captioned in the plate. 75 x 110 mm. NOTE: Very rare representation of the passion flower. Its individual features were found to be symbolic of the crucifixion of Christ/Passion of Christ. The first European report on passion fruit was by Cieza de León in 1553, when he was an official in Colombia. In 1569, Nicolás Monardes, a physician in Spain, associated the passion flower morphology with the crucifixion of Christ, because the flower has spikes protruding from the center, symbolizing the crown of thorns. Subsequently, the passion fruit flower was used by early missionaries in Brazil as an illustrative aid in an effort to convert the indigenous population to Christianity. - Rare, no other copy found by us.

PIRANESI, Giovanni Battista (1720-1778). "Veduta del Ponte Molle sul Tevere due miglia lontan da Roma". (1762). Etching, signed in the plate outer right corner. 441 x 678 mm (image size). (Skilfully remargined, in v.g. condition). NOTE: Fine perspective view of the Ponte Molle. First state (of 4). Fine impression. Hind 64.

PIRANESI, Giovanni Battista (1720-1778). "Veduta dell'Arco di Settimo Severo". (1772). Etching, 'signed' "Cavalier Piranesi del. e inc" in outer left corner. 470 x 708 mm (image size). (Blank margins/splits skilfully rep. in places, in v.g. condition). NOTE: The Arch of Septimus Severus. First state (of 3). Fine impression, rich in contrast. Hind 99.

ARETHUSA PERS -- PAUSTOVSKIJ, K. Tsjechov. 1992. W. cold. etching by D. Bekker. Ocl. (Few smudges on back cover). Printed in 60 copies, this copy number 4. -- I. BABEL. Odessa. 1995. Ocl. (Few smudges on front cover). One of 55 bound copies w. cold. etching by D. Bekker, this copy number 3. -- A. DVORAK. Franz Schubert. (1987). W. cold. etching by O. Kulhanek. Ocl. Printed in 110 copies. -- H. KRIGAR. Anton Dvorak. Eine biographische Skizze. Komm. v. Jarmil Burghauser. Clipeus Pers, (1991). W. front.-portr. & 2 commemorative postage stamps for A. Dvorak in the Impressum. Owrps. Printed in 110 copies. -- R.M. RILKE. Über den jungen Dichter. Ed. W. Simon. 1991. 2 vols. W. loosely inserted signed woodcut portr. by C. Floor. Obrds. In or. marbled slipcase. Printed in 125 numb. copies, this copy H.C. 6. -- And 3 o. by the Arethusa Pers. (9).

ARETHUSA PERS -- VERVOORN, A.J. Zicht op Van der Meij. 1993. W. 3 (2 signed) etchings by W. v.d. Meij. 4°-obl. Ocl. Printed in a lim. & numb. edition of 70 copies. -- Th. de VRIES. De verdwijning van Monsieur Cambert. (1993). W. etching by W. v.d. Meij. Sm-8°. Ocl. W. an extra copy of the etching loosely added, this copy numbered h.c. -- VERZEN voor vrienden. 1993. W. (signed) etching by H. Pauwels. Hcf. (Spine ends dam., some invitations and funeral cards loosely inserted). Printed in a lim. & numb. ed. of 70; this copy 1 of 14 printed & bound for colleagues of the publisher, dedicated by name to J. de Coo. -- Added: some invitations & booklets and 1 In Memoriam w. an etching by H. Pauwels. -- And 5 o. by the Arethusa Pers. (13).

GUICHARD, K.M. British etchers, 1850-1940. Lond., R. Garton, 1977. 81, (2) pp. W. or. ti.-etching and 2 full-p. etchings by R. Tanner, all signed in pencil, & 81 plates w. num. ills. Fol. Or. gilt-lettered blue h. mor., t.e.g.

TUINWIJKPERS -- DRIE AMOUREUZE LIEDJES/Three Love Songs/Three Chansons d'Amour. Haarlem, n.d. (±1964). W. small cold. woodcut in text. 16°-obl. Obrds. First production of Sem Hartz at the Tuinwijkpers, printed in 50 copies. -- M. ANDRIESSEN, (a.o.). Portret van Thijm. Haarlem, 1968. W. etching by S. Hartz. Owrps. Printed in 90 copies. -- F. RABEL (=S. Hartz). Vierslag. (Haarlem), 1976. 16°. Owrps. One of 5 copies, according to the author's ms. inscription. -- B. ROGERS. Four unpublished letters to S.H. de Roos. Haarlem, 1975. 16°. Owrps. One of 5 copies, according to the author's ms. inscription. -- W. SHAKESPEARE. The Phoenix and the Turtle. 1975. 24°-obl. Owrps. One of 90 copies on Barcham Green. -- And 8 o. publ. by the Tuinwijkpers, nearly all inscribed/dedicated by the publisher S. Hartz in ms. (13).

MACCLESFIELD SCHOOL of CARVING, two oak picture frames each containing an etching, signed on back 36 x 45cm and 42 x 34cm cm. c 1900

Francis Sydney Unwin (1885-1925), 'Mte Della Disgrazia', print, plate size 13.75" x 17.75" (35 x 45cm), along with an etching of Vienna, plate size 10.5" x 13.5" (27 x 34cm), both unframed, (2).

Hermann Struck (1876-1944), three portrait prints, one etching and two lithographs, each signed in pencil, etching plate size, 8.25" x 5.75" (21 x 14.5cm), unframed, (3).

Gertrude Martin Hodges, an etching of the deposition of Christ, signed in pencil, 5.25" x 5.75" (13 x 14.5cm).

Wilhelm Leibl (1844-1900), an etching of an old man and woman, 3.5" x 6" (9 x 15cm) along with two further etchings of the same subject, signed in pencil and both numbered 5/25, unframed, (3).

Adriaen Ostade, 'The Cobbler', etching, plate size 7.25" x 5.5" (18 x 14cm), unframed, a/f.

Guido Reni (1575-1642), St. Christopher, etching, plate size 10.5" x 8.5" (27 x 21.5cm), unframed.

Graham Clarke (b. 1941), Lady of Shallot, Circa 1992, etching in colours, signed, inscribed and numbered in pencil 263/350, 14" x 17.5" x (35 x 44cm), a/f.

Stefano Della Bella (1610-1664), horseman riding, etching 2" x 3.25" (5 x 8cm), along with two further works by the same hand, (3).

Lovis Corinth (1858-1925), two nude figures, etching, signed in pencil, plate size 9.75" x 7.75" (25 x 19.5cm), unframed.

Ludvig Richter (1803-1884), female figure, etching on silk,10" x 5.25" (25 x 13.5cm), unframed.

Andrew Fairbairn Affleck (1874-1935), figures by a carved stone doorway, etching, signed in pencil, plate size 25" x 13" (63.5 x 33cm).

Johannes Huibert Prins, 'The Drinker', etching, signed and dated in the plate, 5.5" x 4.25" (14 x 11cm), unframed.

A collection of six vintage limited edition etchings and prints including Pickering etc, Mary Hayes, two small framed prints including “Cyanotype 3” , and Herbs de Provence etching, signed and numbered. Largest overall size 24cm x 30cm

SIMON PALMER (b.1956) A framed and glazed limited edition etching - 'Kentish Corner'. No.19/50, pencil signed. Plate size 29cm x 23cm

JOHN KIKI (b1943) A framed and glazed etching, Pencil signed no 24/50, image size 29.5cm x 24.5cm